Deborah Moodie

Robin Ranga

Wood carving was Robin’s initiation into her art practice which awakened an appreciation for nature’s precision, resilience and fragility. She works in a variety of media responding to her interest and inspiration from organic form and design. Following her notion that “perception is a personal interpretation in all we do, see and feel”, many of her works explore compassionate issues.

Linda Roche

Navigating the territory between intentional and unintended outcomes, the structured and the unorganised, order and randomness, Linda’s painting practice is driven by her interest in investigating and gaining an understanding of the material properties and qualities of different pigments, the subtle variations in how they operate and interact. Underpinning this investigation is her interest in exploring how colour, process and materiality might be used to generate an awareness of light, movement and time within the world.

Serene Thain

Serene Thain had a background in Architectural Draughting and modelmaking. She uses these skills in her installations to create a silent and intimate discourse, that may allow for the exploration of the real and imaginary world.

city

Raewyn Whaley

Raewyn's art practice comprises a philosophical viewpoint, which investigates ideas and notions of "being", and incorporates her interest in contemplative writings. Her practice of undirected drawing, is a continuation of the Abstract Expressionist tradition, which explores the workings of the mind and the unconscious.

In 2017 Raewyn was awarded the Arts Whakatane Art Award, at the Molly Morpeth Canaday Award, and is a finalist in the Walker & Hall Waiheke Art Award.

Raewyn is a graduate Bachelor of Visual Arts, University of Auckland

Her past artistic experience includes figurative painting, portrait painting and children's book illustration.

BETWEEN

ARTS WHAKATANE AWARD 2017

HIGHLY COMMENDED FINALIST Molly Morpeth Canaday Award 2017

Oil on canvas

121 x 101cm

CLOUD OF UNKNOWING 1

Oil on board

121 x 101 cm

CONCERT

Oil on canvas

95 x 78cm

Caro Williams

Caro Williams' art encompasses a range of materials and processes to create installations, sculptures, visual poems, sound and mixed media work. Her art practice explores her on going fascination with the relationship between language, sound, nuance and space. Frequently referencing poetry and the natural world as well as diverse cultural and historical narratives, much of her work incorporates text, spoken words, and field recordings.

Caro graduated from AUT Auckland, where she received a postgraduate research scholarship and gained a Master’s of Art with first class honours. Caro exhibits widely and has received awards for her work, including the 2008 Wallace Postgraduate Award (Visual Arts), the 2013 Gen-i Selector’s Award for her installation at Headland Sculpture on the Gulf, she has been a finalist in both the 2014 Wallace Arts Awards and Premio Celeste 2015, and is a 2016 recipient of Creative New Zealand World War 1 Centenary (WW100) Co-commissioning Fund. Her work is held in public and private collections including the Wallace Arts Trust, New Zealand and Luciano Benetton Collection, Italy.

Caro Williams joins a group of New Zealand artists with an off-site component from London.

While the Auckland exhibition takes place within the chambers of a converted silo, Caro’s Dawn Vigil reflects on a working silo from across the waters in London with a time overlap between exhibition and vigil.

Dawn Vigil - Silo 17 October 2017

SHIFTING GROUND addresses the specific past of the Silo’s utility as being both made of concrete and a container of concrete. Concrete, an ancient and modern composite material, is activated in this project as a generative linguistic device in order to consider the possibility of the group exhibition as a gestalt form – where strength, flexibility, tension and reinforcement structure an unfolding dialogue.

Sound recordings of birdsongs heard onsite at Brick Bay have been gathered and transcribed into sound notes and laser cut into stainless steel pieces. These are attached to steel wires threaded with hand cut clear tubing. The sound notes have been sequenced a like a musical score with each birdsong broken up into timed sections. The artwork is suspended high in the Kahikatea trees.

Field Notes

On-site sound recordings, aluminium, rubber thread, 3200 x 3000mm

Site: 2013 Headland Sculpture on the Gulf, Waiheke Island

Winner of Gen-i Selector’s Award

Selected by Axisweb for Category of the Week 'Sound Art'. https://www.axisweb.org/collections/zr6n3tlp8o5d/

James Wallace Arts Trust Collection

Field Notes is a site-specific installation created from sound recordings taken in the environment around the tree transcribed and cut into aluminium and attached to rubber threads anchored in the ground and connected to the branch of the tree. Each ‘sound note’ visually encapsulated the sound and duration of a particular moment in the dawn chorus.

This work is created using a Voice Font. Voice Font is a typeface I invented made from the spoken alphabet. The shape that each letter of the alphabet takes is created from the sound band generated from the speaking of the letter.